Streep’s work will be presented from Sophie’s Choice, Silkwood, The Devil Wears Prada, Out of Africa, River Wild, Death Becomes Her, Postcards from the Edge and The Bridges of Madison County.

Alas, no one will be wailing, “The dingos got my baby!” (from A Cry in the Dark.) But maybe leaving out dozens of her other roles, like from The French Lieutenant’s Woman, Adaptation, Kramer vs. Kramer and Doubt, to name a few, means a Streep Tease 2 is in the cards.

Streep’s film work is unmatchable, and her versatility as an actress has seen her bounce from role to non sequitur role throughout her career– and accent to accent, which is often said as a joke, a testament to her seemingly effortless mastery.

From her jaw-dropping portrayal in Sophie’s Choice of a Polish immigrant who survived Auschwitz; to her role as a morally outraged avenging nun in Doubt; to her jubilant performance in Mamma Mia, (the film’s emotional high point was her singing the Abba hit, “The Winner Takes It All” to Pierce Brosnan), Streep inhabits her roles and is said to carry on as her character even when she’s off camera during shooting.

Years ago, during my tenure as a restaurant employee in NYC, I waited on Meryl Streep and Jack Nicholson while they were working together on Ironweed, Hector Babenco’s 1987 film about two faded drunks (played by Nicholson and Streep) during the Great Depression.

When they came into the restaurant, both dressed in Depression-era garb, Streep was fully in character as Nicholson’s dowdy, drab girlfriend and drinking buddy. The owner whisked them unrecognized into a quiet, dark booth in the back. When I approached to take their order, Streep said in a low, halting voice that she only wanted vodka and a bowl of potatoes. It was kind of creepy. (And thrilling!)